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英语诗歌韵脚

英语诗歌韵脚
英语诗歌韵脚

英诗的格律

1 音步Foot

在汉语中,诗歌的节奏以词为单位,通过平仄变化来表现音韵的和谐。英诗也如此,不过它的单位不是字(词),而是“韵节”或“音步”(foot),即一定数目的强弱音以一定方式的组合。我们要求每行的字数相同,英诗则要求韵节数相同。如果拿韵节来代替“字”,那么英诗也有与汉诗类似的一些规则。我们看Wordsworth的《孤独的收割女》(The Solitary Reaper)里的两句:

O Listen! For the vale profound

Is overflowing with the sound.

以韵节为单位写出来,就是

< the vale>

.

每个<>为一个韵节,它由两个音组成,前一个是弱音,后一个是强音。这样的韵节是最常见的所谓“抑扬格”(ia mbic foot)。从这个分解可见,英诗是以音节为单位的,甚至把单词分开来。这在口语里常见。我们需要习惯的是,忘掉“词”的意思,只听声音。

有了抑扬格的例子,就不难理解所有其他形式了,据说古代有20多种呢。不过,现代英诗最通行的只有四种,除了抑扬格外,还有扬抑格(Trochaic foot)、抑抑扬格(A napaestic foot)、扬抑抑格(Dactylic foot):

若干韵节构成一行诗句,它的长度叫meter。最短的当然只有一个韵节(monometer),最长的有八个(octameter),而最流行的是五个,即所谓的“五音步”(pentameter),而且常常是抑扬格的,这就是iambic pentameter。

一音步(monometer)

二音步(dimeter)

三音步(trimeter)

四音步(tetrameter)

五音步(pentameter)

六音步(hexameter)

七音步(heptameter)

八音步(octameter)

借音步来说,我们的七律是四音步的,如“无边落木

萧萧下”,“春蚕到死丝方尽”等。而五律就只有三个音步,如“江流天地外”,“国破山河在” 等。同样七言,如“知谁伴名园露饮”,就不能作为七言诗的句子。可见我们终究还是以词义为单位,而通过平仄变化来表现节奏。词之间为“顿”,有人翻译英诗,就拿“顿”来对应“步”,其实不能解决根本问题,因为英诗完全是以声音为基础的。换句话说,英语随便什么句子,按节奏编排起来就是形式上

的诗,而中文的句子,即使满足平仄,也不能成为形式上的诗。

2 节Stanza

若干行形成“节”(stanza)。最小的段只有两句,叫c ouplet,约等于我们的“对联”,所以我们也把它译为“联(句)”。有的诗只有两句,日本的俳句当然不说了,如德国的谚语:

Away with recipes in books!

Hunger is the best of cooks!

著名的“英雄联句”(heroic couplets),是“五音步抑扬格联句”(iambic pentameter couplets)的组合。

这种形式14世纪就在乔叟(Chaucer)的作品中出现了,然而其流行却在17世纪的英雄史诗(epic),所以叫“英雄联句”。它的每“联”几乎都有独立的意思(叫closed couplet),恐怕是最接近中国诗的形式了。(当然也有意思不完整而联系着下面联句的,叫run-on couplet,接近我们的所谓“流水对”,即单独的上联没有完整的意思,与下联结合起来才行,如杜甫的“即从巴峡穿巫峡,便下襄阳向

洛阳”,上联只是一半的路,上下联一起才是全程。流水对是律诗里最有趣的东西,写出来的一般都好;如果春联都用流水对,大概也不会被反着贴了。

三行的韵段叫triplet或tercet,这样的例子就多了,如拉丁格言诗:

Now I know everything! "so cries

The foolish youth. But when he sighs

Ali, I know nothing," he is wise.

但丁的《神曲》(Dante, Divine Comedy)也以它为单位,雪莱(Percy Bysshe Shelley)的《西风颂》(Ode to the west wind)也是(原诗从略)。最常见的还是四行一节(quatrain),最简单的一种是所谓“民谣节”(ballad stanza),每一节像我们的一首绝句。如Sara Teasdale 的几行:

I asked the heaven of stars

What I should give my love –

It answered me with silence,

Silence above.

再看一首Walter Savage Landor(1775 ~ 1864)为自己75岁生日写的On His Seventy-Fifth Birthday:

I strove with none; for none was worth my strif e;

Nature I loved, and next to Nature, Art;

I warmed both hands before the fire of life;

It sinks, and I am ready to depart.

它很合我的口味,特别是前两行,“于我心有戚戚焉”。

特别需要提到的四行节,是所谓Omar stanza,它原是古代波斯的四行诗体(Ruba’i),代表作就是波斯大诗人和学者Omar Khayyám的Rubaiyat(中译《鲁拜集》或《柔巴依》,维吾尔族、哈萨克族也有叫“柔巴依”的歌谣)。这部书很有名,也许是全世界译本最多的诗集。而它的流行,靠的是Edward FitzGerald的一个不老实的英译本,因为它不老实,所以能像地道的创作,所以能像好诗那样流传,其实它就是一本根据波斯原本写的新诗。

一节也可以包含五行(cinquain or quintet))、六行(sestet)、七行、八行(octave)和九行。大诗人济慈(J ohn Keats)和拜伦(Lord Byron)喜欢九行的,而最典型的叫Spenserian stanza,因为Spenser(1552 ~ 1599)在“The Faerie Queen”(《仙后》)里淋漓地发挥了它的作用。(能看到它的全文)拜伦的长诗Childe Harold's Pilgrimage就是以这种形式写的。

3 韵 Rhyme

与节相关的是韵式。中文诗一般是偶数句押韵,或句句押韵(虽然不太多),英诗却很复杂,也很自由。它可以每行押韵,可以隔行押韵,可以奇偶句分别押不同的韵,可以三个韵交错起来,还可以有其他组合的押韵方式。说得极端一点儿,你可以想象,m个韵在n个诗行有多少种分配方式(可重复的组合排列),就有多少种韵式。好在韵是外在的东西,看了就明白,也就不必多说。有人不厌其烦找例子来归纳不同的押韵形式,还贴上不同的标签,对读者来说并没有什么意义。

其实英诗讲究的就是声音的效果,因为它的文字就是声音的文字。中文的叠韵(如崔嵬、昆仑、螳螂)和双声(如蒹葭、鸳鸯、蜘蛛)当然有类似的作用,但毕竟受意思的限

制,不能随处出现;英文就要方便很多,它们叫头韵,借我们的名词,就不但是双声,简直是“多声”,如

Full in the passage of the vale, above,

A sable, silent, solemn forest stood;

James Thomson, The Castle of Indolence, Canto I, 37-38

I should hear him fly with the high fields

And wake to the farm forever fled from the child less land.

Dylan Thomas, Fern Hill, II 50-51

绕口令(tongue-twister)当然更是借声音来玩儿的,如

Round the rugged rock the ragged rascal ran.

Peter Piper picked a peck of pickled peppers.

另外,英文的字很多是多音节的,所以除了押韵(rhyme)外,还有“准韵”(assonance,谐音的字),即中间的音节相同,如

Try to light the fire.

Every time I write a rhyme, thEse pEople think i

t's a crime.

如果要忠实体现原文的声音,至少应该用声母相同的或韵母相近的汉字来翻译它们,这几乎是普遍地不可能的(当然有偶尔的可能)。

4 十四行诗

十四行诗(sonnet)有个好听的中文名字“商籁”,尽管它并没继承殷商的声音。这是经常看到的一种体裁。在中国最流行的是莎士比亚和勃朗宁夫人的十四行诗。《西风颂》的第一段也是14行,四个三行小节加最后两行,这是形式之一,但不是常见的。最常见的还是莎翁的这种,三个四行(quatrain)加一个两行(couplet)(从韵脚可以看得很分明)。每行都是10个音节(syllable),因而是五音步

的(更常见的还是iambic pentameter)。勃朗宁夫人(El izabeth Barret Browning)的分节和韵式和莎翁的不同。

十四行诗以“婉约”情诗出名,不过也有“豪放”的,代表人物是Milton。Wordsworth和Shelley的Sonnet也充满了豪气。如Wordsworth的London (1802)就是一首强力的Milton的赞歌。

注意那些单词产生的语音效果。这是英诗特有的,比较它和Shelley《西风颂》的一行Yellow, and black, and p ale, and hectic red,可以感觉,短促的节奏似乎总是和全诗的大气磅礴相关的。莎翁的情诗就不是这种韵律。相反,我们看到它们都有“排比”,不但不简单干脆,而且还反反复复:如莎翁的But thy eternal summer shall not fade, Nor lose possession of that fair thou owest; Nor s hall Death brag thou wander'st in his shade和So lon g as men can breathe, or eyes can see, So long live s this, and this gives life to thee。勃朗宁夫人的例子就更明显了,她根本就在展开一句话(I love thee)。当然这不是绝对的,同样的表达形式可以表现相反的情绪。但在一篇作品里,它们的作用是可以感觉出来的。

因此,总的说来,英文的诗歌是声音效果(韵律和节奏)的艺术,这与音乐相通;而当我们以线条和色彩来表现韵律和节奏时,就走进了绘画的天地。

一首诗(poem)往往包含有若干诗节(stanza或strophe),

每节又分为若干行(line或verse),

每个诗行由若干音步(foot)组成,

音步则是由一定数目的重读音节(arsis或ictus)和非重读音节(thesis)按照一定规律排列而成。

音步的排列方式构成英诗的格律(meter或measure)。

适合朗诵的英文诗歌

A Forever Friend 永远的朋友 "A friend walk in when the rest of the world walks out." "别人都走开的时候,朋友仍与你在一起。” Sometimes in life, 有时候在生活中, You find a special friend; 你会找到一个特别的朋友; Someone who changes your life just by being part of it. 他只是你生活中的一部分内容,却能改变你整个的生活。 Someone who makes you laugh until you can't stop; 他会把你逗得开怀大笑; Someone who makes you believe that there really is good in the world. 他会让你相信人间有真情。 Someone who convinces you that there really is an unlocked door just

waiting for you to open it. 他会让你确信,真的有一扇不加锁的门,在等待着你去开启。 This is Forever Friendship. 这就是永远的友谊。 when you're down, 当你失意, and the world seems dark and empty, 当世界变得黯淡与空虚, Your forever friend lifts you up in spirits and makes that dark and empty world suddenly seem bright and full. 你真正的朋友会让你振作起来,原本黯淡、空虚的世界顿时变得明亮和充实。 Your forever friend gets you through the hard times,the sad times,and the confused times. 你真正的朋友会与你一同度过困难、伤心和烦恼的时刻。 If you turn and walk away, 你转身走开时, Your forever friend follows, 真正的朋友会紧紧相随,

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【ALWAYS HAVE A DREAM 】总是有一个梦想 Forget about the days when it's been cloudy. But don't forget your hours in the sun. Forget about the times you have been defeated. But don't forget the victories you have won. Forget about the misfortunes you have encountered. But don't forget the times your luck has turned. Forget about the days when you have been lonely. But don't forget the friendly smiles you have seen. Forget about the plans that didn't seem to work out right. But don't forget to always have a dream. 忘掉你失意的日子,但不要忘记黄金的时光。 忘掉你的一次次失败,但不要忘记你夺取的胜利。 忘掉你遭遇的不幸,但不要忘记你的时来运转。 忘掉你的孤独日子,但不要忘记你得到的友善微笑。 忘掉你没有得以顺利实施的计划,但不要放弃你的梦想。 【TODAY IS A NEW DAY】今天是新的一天------ Donna Levine唐那·莱文陈采霞译Your tomorrows are as bright as you want to make them. There is no reason to carry the darkness of the past with you into today. Today is a wonderful new experience,full of every possibility to make your life exactly what you want it to be. Today is the beginning of new happiness, new directions and new relationships. Today is the day to remind yourself that you posses the power and strength you need to bring contentment, love and joy into your life.

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